PRICE IS CENTS 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Greater Than War 

A War- Time Play in One Act 



By 

ASA STEELE 

Author of "A Cure for Hypnotism** 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

191 8 



# $ 






Copyright 1918 by The Penn Publishing Company 



NOV 22 1918 

Greater Than War 

SctD 50748 



^-9 



Greater Than War 



CHARACTERS 



The Woman - - - - a French gentlewoman 

The Soldier one of the enemy 

The Servant a very old man 

The Orderly ... a young man 

Time of Playing. — Thirty minutes. 



STORY OF THE PLAY 

A French gentlewoman and her baby, together with 
her aged servant, live in a house under fire of the 
enemy's guns. A squadron of soldiers enters the 
house. Their officer, embittered against the French 
people because of an incident which happened to his 
mother years ago, orders the Woman to go with them. 
When she refuses, he remembers the child. " You 
must go ! It shall be the price of your life, and his ! " 
The gold chain about the Woman's throat breaks. 
She uses the crucifix as her final plea. " Where did 
you get that ? " The revelation. The Woman's mother 
has done the Soldier's mother a great service. " You 
and your son are free." 



COSTUMES, ETC. 

The Woman. About twenty-five. A plain dress 
of any dark material. She wears a shawl over her 
shoulders. 

The Soldier. About fifty. Wears a gray uni- 
form and overcoat, splashed with mud. 

The Servant. A man about seventy. He wears 
a dark suit, rather worn. His hair is white, and he is 
stooped and decrepit. 

The Orderly. A boy of twenty. He wears a 
mud-stained gray uniform. 



PROPERTIES 



Shawl. Gloves for the Soldier. Small tray with 
bread, cold meat and fruit and a glass. Bottle of 
wine (cold tea may be used). Sword belt. Cigarette. 
Crucifix on chain, to be worn by Woman. 



SCENE PLOT 



Scene. — Parlor of a French country house. Win- 
dow up c„ opens on garden. (If desired the window 
may be omitted.) Doors r. and l. A table r. c. with 
a chair at its right. A large armchair is down r. and 
another down l. A hat rack is up l. c. 



Greater Than War 



SCENE. — Parlor of a French country house. A win- 
dow, c. back, opens on a lawn and garden. A door 

_ at l. leads to an entrance hall. There is another 
door at r. A table r. c, with a chair on the right 
of it. Another armchair at l. c. 

{At rise of curtain, the Woman sits in the armchair 
down l. On her knees a baby is sleeping, as she 
rocks it gently to and fro. Over the Woman's 
shoulders is a knitted scarf -like shawl. From a dis- 
tance comes the booming of heavy guns, incessant, 
sometimes in volleys, sometimes singly. The 
Woman turns, listening to the gun-fire. She shivers 
and hugs the baby to her breast, kissing it. The 
gun-fire ceases. The Woman rises and goes up c. 
to the window, listening in the silence. As she rises, 
the shawl falls from her shoulders to the seat of her 
chair. The Servant enters quickly, l.) 

Woman (advancing tozvard him). Well? 

Servant (l.). The fighting's done. 

Woman. We held the line against them? 

Servant (in keen distress). Lady, you are brave? 

Woman (bravely). I am a woman of France! 
Tell me. We've held the line against them? (The 
Servant is silent.) Why don't you answer? (The 
Servant's head sinks slozvly to his breast, his hands 
fall to his sides limply.) They've driven us back? 
They're coming? Here! 

(She looks around her as if for a means of escape.) 

Servant (going up c. to her, pleading). Go! 

5 



6 GREATER THAN WAR 

Quickly! There's time! These men — these beasts 
show no mercy to women or babies. Oh, lady ! Lady ! 
Could you have heard what I have, seen what these 

eyes grew old while beholding 

Woman. You can tell me nothing. I — know ! 

(She looks off c.) 

Servant. Come! Through the kitchen and gar- 
den to my home. That's too small for them to notice. 
Here, to a large house on a hilltop, they'll come first. 

Woman. I'll stay here. 

Servant. You seek death? 

Woman. I'm not afraid. 

Servant. You, a soldier's wife, may not be. What 
of the child? 

Woman. Jacques ! 

(A cry of pain as she hugs the baby to her breast. A 
volley of musketry is heard off l., close at hand. 
The Woman comes down c, in terror.) 

Servant. They're coming! (He goes c. to the 
Woman, pleading. ) I'm old. My life is worth little. 
I'll give it happily for you. That would not repay 
the debt I owe your father — rearing me, giving me 
work, a home, helping me when days were dark. I'd 
give much more than life to pay that debt. But what 
is my old life against these beasts? 

Woman (resolutely) . I don't ask it of you. Go 
to your home and safety. 

Servant. And you? 

Woman. I'll — stay — here! (The Servant turns 
from her in despair, wringing his hands.) This is my 
home. Last night — I did not tell you — last night my 
husband was here. 

Servant. M'sieur Henri? 

Woman (c). His regiment lay close by, waiting 
for to-day. He came to me 

(Another volley of musketry sounds off L., close at 
hand. ) 



GREATER THAN WAR 7 

Servant (going toward the window, a). M'sieur 
Henri? In the fight to-day! 

Woman (c). He told me all you know of these 
beasts. He tried to make me go. I would not. Why 
stay? If he is wounded, he'll have them bring him 
here. If he lives, he'll come again, here, to his home, 
to seek me. He'll need me the more now, in his sorrow. 
Only here can he find me. Only thus will he know I'm 
safe. Then we can go together. 

Servant (up c, slowly). If he is — not — safe? 

Woman. My husband gone ; I at the mercy of 
these beasts — it's not a world I'll live in if they do ! 

(A loud knocking at a door is heard off L. The 
Woman and the Servant turn quickly, listening.) 

Servant. They're here! 

Woman. My husband ! Let him in. 

(The knocking is repeated, louder now.) 

Servant. He would not knock. They're stran- 
gers — enemies ! 

Woman. Let my husband in ! 

(The Servant exits, l., leaving the door open.) 

Soldier, (off l., knocking). Open the door! 

(Knocking.) Open! 

(The Woman gives a shiver of terror, then quickly 
goes to the door r., stands for a moment listening, 
then exits r., with the child, closing the door after 
her. The Servant reenters l., standing above the 
door.) 

Servant. Here, m'sieurs. 

(The Soldier enters l. The Orderly follows him on.) 

Soldier (looking about). We'll eat here. (To 
the Servant.) Who live in this house? 

Servant. Myself, m'sieur — and — myself — and 

Soldier (l.). —And yourself! Ha! Ha] JIa! 



8 GREATER THAN WAR 

Be certain of it. Lie to me and I'll shoot you where 
you stand. 

Servant. Myself alone, m'sieur. 

Soldier. Bring me food, then. And wine ! Your 
best wine. 

Servant. Yes, m'sieur. 

(Exit Servant, l. The Soldier goes to the Orderly, 
speaking in command.) 

Soldier. Take the squad to the kitchen. Let them 
eat what they find. In twenty minutes, report to me 
here. (The Orderly salutes and exits, l. The Sol- 
dier crosses r. to the table, whistling gaily. He lays 
his gloves on the table, r. Standing thus, he sees the 
Woman's shawl on the seat of the armchair down r. 
He goes to armchair, takes up the shawl, examining 
it, then begins to laugh.) Ha! Ha! Ha! (He 
throws the shawl back on the chair as the Servant 
enters, l. He carries a small tray holding bread, cold 
meat and fruit and a glass. In the other hand he 
carries a bottle of wine. These he places on the table, 
r. c. The Soldier starts to remove his belt.) Here — 
help me. (The Servant helps the Soldier off with 
his sword belt. The Soldier seizes the Servant by 
the arm, whirling him around. The Servant staggers 
in his weakness.) Make haste! You're as slow as a 
snail after a feast of flies! (The Servant hurriedly 
helps the Soldier to remove his overcoat and helmet, 
which he places on rack up l. c, together with the belt. 
The Soldier sits at the table, r. c, and begins to eat. 
The Servant comes r. c. to table, opens the bottle of 
wine and fills the glass with some of it, then stands l. 
of table. Soldier, as he eats.) You say you're alone 
here. 

Servant. Yes, m'sieur. 

Soldier. A caretaker, eh? 

Servant. Yes, m'sieur. 

Soldier. Who was in the family when they were 
here? 

Servant. M'sieur, the Captain 

Soldier. Who's fighting us, eh? Who else? 



GREATER THAN WAR 9 

Servant. Madame, the Captain's wife, and her 
little child. 

Soldier (cunningly). Both of whom have fled, I 
suppose ? 

Servant. Yes, m'sieur. 

Soldier. And if Madame, the Captain's wife, were 
here? Ha! Ha! Ha! That's one thing I cannot 
resist — a pretty woman! 

Servant. You're hungry, m'sieur. Don't talk — 
eat ! 

Soldier. Woman! Lovely woman! (He raises 
his glass of wine, then drinks.) How old is your 
mistress, Madame, the Captain's wife? 

Servant. When women pass a certain age, m'sieur, 
they have no certain age. 

Soldier. Ha! Ha! Ha! She is pretty, I sup- 
pose — cheek like a rose, lips framed for kisses 

Servant (hastily). Um — don't talk — eat! 

Soldier. Ha ! Ha ! Ha ! A glance, a kiss, a soft 
embrace 

Servant. Um — don't talk — drink ! 

Soldier. Drink with me! (He throws the wine 
remaining in the glass into the Servant's face.) Ha! 
Ha! Ha! (He refills his glass from the bottle.) 

Servant (wiping the wine from his face). I see 
nothing to laugh at. 

Soldier. Laugh ! ( Threatening, half rising. ) 
Laugh, I say ! 

Servant (mournfully). Ha — ha — ha 

Soldier. That's better. (He drinks the rest of his 
wine and rises, crosses to down r., and lights a ciga- 
rette.) Now tell your mistress to come here. 

Servant (l. of table, astonished). M'sieur! I 
told you 

Soldier. You said she had left here. I say she's 
here. If not, what do you make of this? (He takes 
the Woman's shawl from the chair, extending it to- 
ward the Servant.) Don't tell me that you wear 
this. Ha! Ha! Ha! Where is Madame, the Cap- 
tain's wife? 

Servant (slowly). I do not know. 



1.0 GREATER THAN WAR 

Soldier. Here ? 

(He points toward the door, r. The Servant hastily 
goes around back of table and gets between the 
Soldier and the door r.) 

Servant. M'sieur, you must not! 

Soldier (fiercely). When I say must, no servant 
may say must not. Bring her here ! 

Servant. There's a life between you and her. 
You must take that first. 

Soldier (down r.). Whose life? 

Servant (at door r.). M'sieur, I'm old. My wife 
is dead. My only son has shed his blood for France. 
(He pauses with emotion, then turns to the Soldier 
proudly. ) Yet had I all again — youth, wife and son — 
all would not buy forgiveness for letting you know 
this woman is here. So take my life ! 

Soldier (going toward him in a rage). Ten thou- 
sand devils (The door R. opens and the Woman 

appears in it. The Soldier sees her, stops, then 
crosses to down l., laughing.) Ha! Ha! Ha! 

(The Servant follows the Soldier's gaze and turn- 
ing, sees the Woman.) 

Servant. Madame ! 

(He covers his face with his hands.) 

Woman. I could not help but hear. (She goes to 
the Servant and puts her hand gently on his shoulder. ) 
Go ! Find my husband. Tell him I died as his wife 
should. 

Servant. I did not know! Now 

Woman. I forgive you. Go ! 

(With deep emotion, the Servant looks up into her 
face, seises her hand, kisses it reverently, then exits 
r. The Woman walks to the l. side of the table 
and turns to the Soldier. For a moment they re- 
gard each other in silence.) 

Soldier. Our regiment attacked your outposts this 
morning 



GREATER THAN WAR 



Woman. I know — who and what you are ! 

Soldier. Women have men at a disadvantage. 
We're not supposed to answer back. Ha ! Ha ! Ha ! 
I'm a soldier— yes. Your enemy. But before all else, 
I'm your conqueror ! 

Woman. You've invaded my home, conquered 
me — a woman. Well ? 

Soldier (looking at his wrist watch). In ten min- 
utes we must be off. I've no time for words. We 
stopped here to take what we wanted — food, and other 
things. 

Woman. You have the food. So go! 

Soldier. You forget. The other things. When 
we go, you must go with us! 

Woman. I ? 

Soldier. Officially, our prisoner of war. (Comes 
r. to her.) Actually, as my prisoner! Mine! (He 
seizes her hands. She wrenches herself loose and 
moves quickly to R. side of the table, r. c.) You had 
best accept— quietly. What can you gain otherwise? 
Your servant can do little. I need only go to this door 
(indicating door l.) and call my squad. They would 
outnumber you ten to one. 

Woman (scornfully). Your ten men— against me! 
Have you no pity, no sense of shame ? 

Soldier. None. I'm what you made me. 

Woman. I made you? 

Soldier. You French. 

Woman. We don't treat women so ! 

Soldier. I'll prove you do ! When we last invaded 
France, my father was a merchant in Paris. He was 
ordered home to join his regiment. My mother, with 
me, a child in arms, were left to follow. My mother 
was seized, imprisoned by you French. When they 
set us free, the frontiers were closed. Her money 
had been taken from her ; she had no means of get- 
ting more. My mother, a lady like you, carried her 
baby through the streets of Paris, begging for food. 

Woman. The French did not do that. War was 
to blame— war forced on us by those you serve ! 
Soldier (casting aside her words with a negative 



12 GREATER THAN WAR 

gesture). When my mother finally did reach home 
her health was gone. What she had passed through — 
killed her. As I grew old enough to understand, I 
lived for but one thing — that I might learn to repay 
that wrong done to her — and to me! We are now 
ordered to conquer with both bullets and fear. That 
is true enough. But I am taking revenge on you 
French because I hate! 

Woman. That will not excuse the worst of wrongs 
to me — I am a stranger to you ! 

Soldier. We are ordered to kill, burn, stop at no 
act of violence. Terror conquers as well as gun- 
powder. What do I care whether you are friend or 
stranger? Your pleas are useless! Come! You 
must go with us ! 

{She confronts him fearlessly.) 

Woman. I demand my freedom! By your man- 
hood 

Soldier {laughing). I can show no mercy! 

Woman. By all that is just ! 

Soldier. War is above the law. 

Woman. Have you no woman at home — no wife 
or daughters whom you can see, desperate, as I am 
now? 

Soldier {showing a momentary tenderness as she 
speaks, then quickly becoming severe again). They 
are of us; you of the French, whom I hate. Come! 
We're wasting time! 

{He goes to the rack up l. c, and puts on his over- 
coat.) 

Woman. I ask safety — in the name of your 
mother. 

Soldier {stopping abruptly). My mother! {He 
speaks tenderly, gripped by emotion, then controls 
himself and speaks harshly.) I'm a soldier. {He 
puts on his helmet.) "Must" is my only parent. 

{He fastens on his belt.) 

Woman. Treat me as you would have had us treat 



GREATER THAN WAR 1 3 

your mother in those past years in Paris. Think of 
me — as a mother. 

Soldier (surprised, he reflects for a moment, then 
laughs grimly). Ha! Ha! Ha! I forget! Your 
child. It is here! (He comes down to l. of table.) 

Woman. No ! No ! 

Soldier. Your servant told me. 

Woman. Ah! (A cry of pain.) 

Soldier (l. of table). Your child! That makes 
it easier! 

Woman (r. of table). You would not harm him? 

Soldier. He shall be an added weapon to make 
you obey. You must go! It shall be the price of 
your life and his ! 

Woman (in despair). Kill him! A soul as pure 
as saint or angel ! (Sobbing.) My little son 

Soldier (roughly). He shall be as I was in the 
streets of Paris! Where is he? I'll take him 

(The Woman makes a quick movement to intercept 
him as he tries to cross r.) 

Woman (up c, pleading). There must be some 
way — there must ! Hear his voice, look into his dear 
eyes and your heart will melt ; you'll let him live ! 

Soldier (in front of table r. c). No ! 

Woman. Can no prayers move you? 

Soldier. You choose weapons too familiar — tears, 
entreaties ! Beside my will, they are swords of glass. 
(Chuckling.) Come with us, or your child shall be 
sacrificed. Choose ! 

(The Woman leaves him and crosses to c. quickly, 
distraught and desperate. She stops suddenly, in 
reflection. Then she pulls at the thin gold chain 
which encircles her neck. It breaks. She looks at 
the crucifix which is suspended from the chain. 
Then she turns to the Soldier and slowly extends 
the crucifix toward him.) 

Woman. Then I ask safety for myself and child — 
by this ! 

(The Soldier laughs as he turns to look at the 



14 GREATER THAN WAR 

crucifix. At sight of it, the merriment dies in his 
face. His expression, as he regards the symbol, 
turns to one of amazement.) 

Soldier {coming c. to Woman). Where did you 
get that? 

Woman. I've worn it always. 

Soldier. Before that? Before it was yours? 

Woman. My mother gave it to me. 

Soldier. Where did she get it ? 

Woman. She had it from a beggar. Often she 
told me of it. My mother pitied her, saved her from 
arrest. 

Soldier. And then 

Woman. The beggar gave my mother this, prom- 
ised to do her utmost to repay my mother's kindness. 

Soldier. On the other side of the crucifix— what 
is written there? 

Woman {surprised). How did you know? {She 
turns over the crucifix to read. ) It says 

Soldier. The words are these : " Love, help, for- 
give" ! 

Woman {amazed, as she reads from the crucifix). 
" Love, help, forgive." 

Soldier. That is mine. 

{He extends his hand for the crucifix.) 

Woman. Yours ? 

Soldier. My mother was the beggar. 

Woman {slowly realizing). Your mother gave 
this pledge to mine ? 

Soldier {taking the crucifix). She told me of it a 
thousand times. It was in the streets of Paris when 
life seemed most hopeless for her — and for me. She 
promised the woman to whom she gave it to hold it 
sacred, to return good for good, when the owner 
offered that. 

Woman. Then I ask you to redeem her pledge. I 
ask your mercy for myself and my child. {The 
Soldier turns from her.) What are conquest, power 
■ — the whole world, compared with love like this ? My 



GREATER THAN WAR 



15 



love for my son, as your mother loved you; my 
mother's pity for yours 

{The Orderly enters l.) 

Orderly {saluting). You ordered me to report in 
twenty minutes, sir. 

Soldier {saluting). Let the squad fall in. Then 
await me. {The Orderly salutes and exits, l. The 
Soldier looks at the Woman for a moment in silence, 
then regards the crucifix. He turns it over again 
and reads the inscription on it.) "Love, help, for- 
give "- 

{He stands for a moment, hesitating, then goes to the 
Woman, lifts her hand and places the crucifix 
in it.) 

Woman {softly). My son? Myself? 
Soldier. What this means to me is greater than 
war, Madame. You and your son are free. 

{The Soldier salutes and exits l.) 



quick curtain 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
t etc, with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
fecenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention^. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 






Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
Dumont. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Power of Expression 

Expression and efficiency go hand in hand. 

The power of clear and forceful expression brings conn- 
dence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request, 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

1714 De Lancey Street Philadelphia 




